£2,150-£3,150 VALUE (EST.)
$3,950-$6,000 VALUE (EST.)
$3,600-$5,500 VALUE (EST.)
¥18,000-¥27,000 VALUE (EST.)
€2,450-€3,550 VALUE (EST.)
$21,000-$30,000 VALUE (EST.)
¥350,000-¥510,000 VALUE (EST.)
$2,650-$3,850 VALUE (EST.)
This estimate blends recent public auction records with our own private sale data and network demand.
Signed Print Edition of 30
H 78cm x W 62cmx D 3cm
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Celine Fraser, Specialist
|Auction Date||Auction House||Artwork|
Return to Seller
|November 2022||Bonhams New York - United States||Elena And Cressie Get Ready For The Party 6 - Signed Print|
|May 2021||Stockholms Auction House - Sweden||Elena And Cressie Get Ready For The Party 6 - Signed Print|
|August 2020||Bonhams Online - United Kingdom||Elena And Cressie Get Ready For The Party 6 - Signed Print|
|October 2019||Bonhams Los Angeles - United States||Elena And Cressie Get Ready For The Party 6 - Signed Print|
|January 2019||Phillips London - United Kingdom||Elena And Cressie Get Ready For The Party 6 - Signed Print|
Elena And Cressie Get Ready For The Party 6 is a print from Julian Opie’s Elena And Cressie Get Ready For The Party series from 2011 and shows a close-up portrait of a young girl smiling. This portrait is an example of Opie’s late graphic style where details such a tonal contour on the sitter’s face, teeth and eyelashes are included, rendered through his classic technique of drawing over photographs on the computer to reduce and abstract the original.
Speaking of his development in style Opie has said, "The first drawings were very simple, but that gave me a language on which to build. They started as black and white, with very pared-down parameters – the mouth was just a straight line and so on – and bit by bit I adjusted it until it seemed like the right balance between someone real and this generic form."
Elena And Cressie Get Ready For The Party 6, with its use of colour and inclusion of finer details, is representative of the way in which Opie toes the line between reality and representation. The sitter is startling in her uncanny appearance and is presented like an image one might find in a comic book or animation programme. Opie’s depersonalised touch further emphasises this paradox between familiarity and the unknown, the sitter’s eyes shining but filled with emptiness, looking off into nothing.